P^ (oQ>5 
B'785 



T^ Mon Abou4T: 



OU^ 



I^*- Mor> Akooi4 l^tAirk 







COPYRIGHT, 1893, BY WALTER H. BAKER & CO. 



BAKER'S DARKEY PLAYS 

Edited aiid arranged for publication from the iiyell-known repertoire of 

" SCHOOLCRAFT AND COES " iciih all their original 

*'gags** and '^ stage business." 

BY GEO. H. COES. 

Price 15 cents each. 



"Luke Schoolcraft*' and "George Goes" are too well known to admirers of 
Xegro Minstrelsy to require comment, an«l the following selections from their 
admirable repertory of pieces have no need of other recommendation. Ko one 
Avho has seen these artists in any of the following list of sketches needs assur- 
ance of their humor and good acting quality. Twelve are now ready, and others 
will follow as the demand arises. 

Mrs. Didymus' Party. In One Scene. Two male characters. 

Scene, a plain room. An immensely humorous trifle. Plays 

twenty minutes. 
Music vs. Elocution. In One Scene. Two male characters. 

Scene, a plain room. Always very popular. Plays fifteen minutes. 
Mistaken Identity. In One Scene. Eight male and one female 

characters. Can be played in "white face" if desired. Plays 
fifteen minutes. 
Oh, Well, It's No Use. In One ScenCo Three male characters. 

A very funny sketch, full of genuine darkey humor. Plays 

twenty minutes. 
Here She Goes, and There She Goes. In One Act. Eight 

male and one female characters. An uproariously funny piece 

of great popularity. Plays twenty-five minutes. 
A Finished Education. A Finale for the "First Part" of a 

INIinstrel Entertainment. Three speaking characters. N6 change 

of scene 
Black Blunders. In Two Scenes. Nine males and thfee females. 

Scenery simple; costumes eccentric. Very lively and amusing. 

Plays twenty-five minutes. 
The Old Parson. A "First Part Finish" for a Minstrel Enter- 
tainment. Six speaking characters. No change of scene. 
Sublime and Ridiculous. In One Scene. Three male character?!. 

Scenery and costumes very simple. A sure hit for a good burlesque 

comedian. Plays twenty minutes. 
Everyday Occurrences. A "First Part Finish^' for a Minstrel 

Entertainment. Three speaking characters. No change of scene. 
Badly Sold. In Two Scenes. Four male characters and supers. 

A very funny piece. Can be played "white face" with equally 
good effect. Plays twenty minutes. 
Our Colored Conductors. In Two Scenes. Thre^ mffle char- 
acters and ten supers. This is an uproariously funny and a 
sure hit. Plays twenty minutes. 



Catalogues describing the above and other popular entertainments 
sent free on application to 

WALTER H. BAKER & CO., 

THEATRICAL PUBLISHERS, 

No. 23 Winter Street - BOSTON, MASS. 



THE MAN ABOUT TOWN 



^ Weflro JFarce in ®m ^ct 



By E. bowers 



• 'ff r 



*Y ,<^ RIGHT. "''^^^ 



OG 2 <89*i 



,, BO S T ON 




1894 



CHARACTERS. 



Joshua Seeds, a tobacconist. 

Orlando Shortcut, who would be his son-in-law. 

Peter Pipes, the Man about Town, 

Joe Bitters. 

Virginia Seeds, Seeds's daughter. 







Copyright, 1894, by Walter H. Baker & Co. 



PROPERTIES. 



Cane for Seeds. Two letters for Peter. Spectacles. Gun for Seeds. 
Gum-drops. Saw, hammer, etc., for Seeds. One stovepipe bonnet. Dummy 
sign figure. Box for figure to stand on. Long counter. Bundles, cigar- 
boxes, broom, etc., for store. Jar with coffee, marked " snuff." 



THE MAN ABOUT TOWN. 



Scene I. — A street in one, 
{Enter Orlando, l.) 

Orlando. I am more than half a mind to go before the mayor, 
and take an oath to burn and destroy all tobacconists in general, 
and old Seeds in particular. He has just refused me the hand of 
his daughter; kicked me out of the house, and locked his daughter 
in her room. My only plan now is to run away with her and get 
married in spite of him. But how to get a letter to her telling her 
of my plan. 

Peter {sings outside L.). Halloa! there is my old friend Peter 
Pipes. He is just the man I want ; but then he looks so shabby. 
Never mind ; he can contrive some plan to get a note to her, I'm 
sure. {Calls Peter.) I say, Peter! Peter ! come this way. I wish 
to speak with you. 

{Enter Peter, l., singing,) 

Peter. Why, Shortcut, how are you.^ You look as nice as a 
new barber's pole. 

Orlando. Peter, where have you been this long time, and what 
makes you look so shabby.'* 

Peter. Why, I saved up four dollars to go into business with, 
when I busted. 

Orlando. What did you do with the four dollars? 

Peter. I put it in the bank — Faro Bank, 

Orlando. How did you succeed with your investment? 

Peter. First-rate. I got in the poorhouse the next day. 

Orlando. How did you get out of the poorhouse? 

Peter. I knocked down the keeper and run. 

Orlando. Well, Peter, I can put you in a way to make five 
dollars. Can I trust you ? 

Peter. I guess so ; that's what they all do. 

Orlando. Oh, no ; I mean can I lodge a secret in your breast? 

Peter. Well, I think so ; that is, if the lodging was paid for. 

Orlando. Why, have you no money — no blunt ? 

Peter. Blunt? What do you mean by blunt ? 

Orlando. Why money, — money is blunt. A shilling is blunt. 



4 THE MAN ABOUT TOWN. 

Peter. Oh, a shilling is blunt, is it ? 

Orlando. Yes. Now listen to me. I have a father. 

Peter. Well, some people do have fathers at some period of 
their lives. 

Orlando. I have a father who has threatened to cut me off 
with a shilling. 

Peter. But a shilling ain't sharp enough. 
i Orlando. Why ain't a shiUing sharp enough? 
• Peter. Because it's blunt. Ha, ha, ha ! : 

Orlando. Never mind ; my father has threatened to cut me out 
of his will because I fell in love. 

Peter. Well, can't you get up again? 

Orlando. No; I have pledged my love beyond redemption. 

Peter. Redemption? I know him ; he is a pawnbroker. 

Orlando. Before this threat of my father's everything was all 

right; but the father of the girl I love heard of it, and to-day has 

kicked me out of the house, and locked his daughter in her room. 

[ Now, I wish to run away with her and get married, and I wish you 

to take a note to her. Will you assist me ? 

Peter. How much is the young lady worth? 

Orlando. About forty thousand dollars, y 

Peter. Has she got any sisters? 

Orlando. No; she is an only child. Why? 

Peter. Well, I was thinking of marrying into the family myself 
if she had a sister. 

Orlando. Well, well, will you assist me? 

Peter. Make it five dollars and a quarter. 

Orlando. Five dollars and a quarter be it, then. In the first 
place, I will write a note, which you must take to the young lady. 
But you must not let her father see you, and I think you will have 
to use stratagem to get into the house. , . - .^ 

' Peter. Stuttering Jim? I know hini. 

Orlando. Oh, no ; I mean you will have to be very careful and 
not let her father see you. 

Peter. Has the house got a door ? 
^ Orlando. Of course the house has got a door. 

Peter. Then all Pve got to say is, she will get the note. 

Orlando. Then come this way, and I will instruct you further. 

(^Exeunt boik^ L.) 

Scene H. — A chamber in two, 
{Enter Old Seeds ^//^ Virginia r. andi.., meeting,) 

Seeds. Well, my child, here you are, thinking of Mr. Orlando 
Shortcut, no doubt. I can tell you one thing, you never shall 
marry him. 

Virginia. But, father, why object to him; he is a dear, sweet 
man. 



THE MAN ABOUT TOWN. 5 

Seeds. Sweet or sour, he don't get you. You must marry 
some one out of the common way. 

Virginia. But people who are out of the common way are not 
at all in my way. 

Seeds. No, no ; your husband must be rich and a man of taste. 

Virginia. His taste I sha^n't dispute, for his love for me will 
prove his taste. (Peter knocks l.) 

Seeds. Go see who is at the door. {Enter Peter, l.) Well, 
whoever it is, he is coming in without waiting for an invitation. 
(Peter has a letter which he tries to make Virginia notice,) 

Seeds. Well, sir, what do you want.'^ 

Peter. Does Mr. Cadwallader live here ? 

Seeds. No ; Mr. Cadwallader donH live here. 

(Peter makes signs to Virginia which she does not see. Seeds 
keeps his back towards Peter as much as possible,) 

Peter. A man told me this was his house. 

Seeds. Mr. Cadwallader don't live here, and this is not his 
house ; and if that is all you want, the sooner you get out of this 
house the better, or I will have you kicked out. 

(Peter pretends to cry, rushes towards Virginia, tries to have her 
see the note. She turfis her back.) 

Seeds. What is the matter with you? Why do you look thus 
wildly at my daughter, and burst into tears 1 

Peter. A man told me Mr, Cadwallader lived here, and I want 
to see Mr. Cadwallader, because if I see Mr. Cadwallader, Mr. Cad- 
wallader will -^ (Aside.) I wish the gal would take this letter. 

{During this Old Seeds has been watching Peter. Peter holds 
the letter towards Virginia, when Old Seeds seizes Peter and 
the letter,) 

Seeds. What is this? A letter to my daughter, and from Or- 
lando Shortcut? And you are the carrier, are you ? 

Peter. Yes,' I am the mail — I am the blackmail. 

Seeds. I'll blackmail you. I'll stop your carrying letters. 

Peter. It's ag^ainst the law to stop the mail. 

Seeds. Where is my gun — sword — pistol — anything ? 

Peter. Here is a shoestring. 

(Seeds gets his cane and beats Peter off L. ; then crosses to 

Virginia.) 

Seeds. So, so ; treason in my house, and you are at the bottom 
of it. ril lock you in your room, and you sha'n't leave it until you 
are married, and married to please me. 

Virginia. But father, Mrs. Stitch, the dressmaker, will be here 
to-day. I hope you will allow me to see her. 



O THE MAN ABOUT TOWN. 

Seeds. Fll think of it. Come, away to your room, you ungrate- 
ful daughter! Come, in with you! {Ptishes Vikgi^ia off k,, and 
exit R.) 

Scene III. — A street^ same as first scene. Enter Orlando, r. 

Orlando. Confound that fellow, how he stays ! (Looks offi.,) 
Ah, here he comes at last. 

{E7tter Peter, l.) 

Well, Peter, how does our game proceed? 

Peter. Our game's played out. I had a bad hand, and was 
beaten. 

Orlando. Did not my letter reach the lady } 

Peter. No; but the old man's cane reached me, and IVe 
reached here, and I've got the worst of the bargain. 

Orlando. In other words, you left his cane while you were 
able. 

Peter. That's what I was just on the eve of telling you. 

Orlando. Well, our bargain was, you were to deUver the letter, 
and I was to give you five dollars. 

Peter. And a quarter. 

Orlando. If you don't deliver the letter, you don't earn the 
money. 

Peter. Well, I'll try once more, and if I fail this time, Pm no 
actor. 

Orlando. Actor? Why, are you a spouter ? 

Peter. Yes ; I spout everything I can get my hands on. 

Orlando. Well, come this way, and we will have another trial 
of your skill. {Exeunt both, L.) 

Scene IV. Chaniber with window for Peter to jump through. 
{Enter Old Seeds, r.) 

Seeds. I have been watching to see if I could find any of the 
servants of Mr. Orlando Shortcut round here. The idea of his 
marrying my daughter! Why, the fellow has not got a penny in 
the world. What, marry the daughter of the Seeds family! Why, 
the fellow must be crazy. Ah, here comes my daughter. {Enter 
Virginia, r.) Well, my dear, I see you have at last gained 
strength enough to leave your room. 

Virginia. Yes, father; but is it not strange Mrs. Stitch, the 
dressmaker, does not come ? 

Seeds. There you go again ! It seems to me you think of noth- 
ing but Mrs. Stitch and that puppy Shortcut. But you never shall 
marry him ; that you can be sure of 

Virginia. But, father, you know that I love him, and — 



THE MAN ABOUT TOWN. 7 

Seeds. Love him ! You fall in love with every man you see. 
There was Mr. Somerset. As soon as you saw him, you were dead 
in love. 

Virginia. Now, father, you know he was rich, and a man of 
taste. But you would not let me marry Mr. Somerset. 

Seeds. No. Do you think I wanted my daughter to turn a 
Somerset? Never. 

(^Knock outside. Enter Peter dressed as Mrs. Stitch, with 
hoops, etc. III this scene Peter speaks iii a female voice,) 

Peter. Good-day, my dear, will your brother have the kindness 
to leave us to ourselves 1 

Virginia. My brother ! Why, Mrs. Stitch, that is my father ! 

Peter. Excuse me ; he looks so young, I thought it was your 
brother. 

Seeds. That's a very sensible dressmaker, and not bad look- 
ing. No, Mrs. Stitch, I could not leave the room. You must 
know that there is a young fellow pretends to love my daughter, 
and he has a low blackguard of a rascal engaged to bring letters to 
her, and I could not think of leaving. Besides, I could not think 
of leaving so beautiful, so charming, so interesting a lady as 
yourself without having some conversation with her. 

Peter {aside; natural voice), V\\ have the old thief arrested 
for keeping a disorderly house. 

Seeds. I cannot leave the room, but I will turn my back. 
(Seeds looks out of window, Peter crosses r. to Virginia. 
During the following conversatio7i, Peter has a tape and 7neasures 
Virginia, as if for a dress.) 

Virginia. Ah, Mrs. Stitch, Pm not happy. I want a warm 
heart — 

Peter. A warm heart? You have got tongue enough, but you 
want more pluck. What will you have, a sheep's tongue or a beefs 
heart — which ? 

Virginia. You don't understand me. I want sympathy. 

Peter. 1 havn't got any sympathy, but I've got some harts- 
horn. 

Virginia. Ah ! You are an artless, innocent creature. 

Peter. Did you say you would have some hartshorn ? 

(Peter pulls up his dress ^ as if to get at his pants pocket. Old 
Seeds watching them. Virginia stops Peter and exclaims ,) 

Virginia. Pray, Mrs. Stitch, remember decorum. 

Peter. De-co-rum. Yes ; he is the one that told me to give 
the gal this note. {Takes out note. Old Seeds watching.) 

Seeds. Hang me, if that dressmaker hasn't got a note. I must 
watch them. 

(Peter goes up to Virginia to give her the note. He puts his hand 
on her shoulder, a?td is supposed to get pricked by a pin, Peter 



8 THE MAN ABOUT TOWN. 

exclaims in his natural voice, '''Damn that pin / " Old Seeds 
rushes betweefi them, seizes the note, theji grabs Peter by the 
skirts, beats him round stage with cane; the skirt tears off, 
leaving nothing on Peter but pants, hoops, waist, and bormet. 
Peter runs for the window, ju7nps, and is caught with head out 
of window and heels in, Old Seeds beating him with cane as 
scene closes in,) 

Scene V. — Street, same as first, 
{Enter Orlando, l.) 

Orlando. What can keep Peter so long? I suppose his last 
plan has failed with the rest. {Looks offi^\ enter Peter, l, still 
in hoops,) Well, Peter, caught again.'* 

Peter. Yes ; caught again. I don't understand these lover 
scrapes, so you must make some allowance. 

Orlando. Thus far everything is a failure. 

Peter. Well, Pve got a plan to finish the job now. I want you 
to go down by the pump and wait until I come. {Exit Peter, l.) 

Orlando. I have not the least doubt but this will fail with the 
rest. Never mind, Pll wait down by the pump. {Exit l.) 

Scene VI. — Exterior of a tobacco store. Sign over door '''Jacob 
Seeds, "^"^ A sign figure,, size of life, stands before the door, with 
long white coat, white hat, red shirt and pants the same as 
Peter's. 

{Enter Peter, l.) 

Peter. Here is old Seeds's house ; but how to get in, that is the 
question. Let me see; I'll take the clothes off this old fellow, put 
them on, and then see what kind of a sign I will make. (Takes the 
figure off the box. Exit with it, L. ; puts on coat and hat the safne as 
those on the figure ; enter i?nmediately.) Now, I don't see but what 
I can make a good sign. I'll just stand on this box. The young 
lady may come out of the house or look out of the window ; then I 
can give^ her the letter. {Stands on box ifi the same position as the 
figure was.) There, I guess I make as good a sign as any in the 
city. 

(Old Seeds appears at upper window iti flat with a gun,) 

Seeds. I wonder if there are any of the servants of Mr. Orlando 
Shortcut round here. If I see any of tliem, I'll blow their brains 
out. Hallo, there is my sign figure out-doors yet. I say Joe, Joe, 
take in the sign and shut up shop. {Disappears from window. 
Enter ] ok from house and takes Peter, who staiids stiff, afid car- 
ries hi7n into house. Then 7'eturns and gets box, aftd exit into 
house.) 



THE MAN ABOUT TOWN. 



Scene VII. — Interior of tobacco store j lofig cou7iter with bundles 
tied up ; three or four jars ^ 07ie filled with groutid coffee to repre- 
sent snuff ; a stove painted red to represent a very hot fire ; a 
broojn ; a set wijidow^ L. 3 E. for Peter to jump through. 
Peter discovered standing on box near the stove ; he is noiv rep- 
resulting the figure ; makes busi?iess about the fire in stove being 
hot. 

Peter. Well, Pm in here at last. That fellow thought he was 
bringing in that old sign figure. Now, if I can only fool the old 
man it will be all right. Ah, here he comes now. (^Strikes atti- 
tude on the box same as the figure was,) 

{Enter Old Seeds, l., Virginia, r.) 

Seeds. Now, Virginia, promise me that you will forget Mr. 
Orlando Shortcut, and I will give you a new bonnet, a new silk 
dress — and — 

Peter. A soup ticket. 

Seeds. Eh? what did you say about soup? 

Virginia. Soup? I said nothing about soup. 

Peter {aside), I wish she would put that old blower on this 
stove ; it's getting mighty hot here. 

Seeds. Til tell you what I am going to do with my sign figure. 
You know Mr. Brown the grocer, well, he has a Chinaman in his 
window with gas burning out of his mouth. Now, Pm a-going to 
take my sign figure there, bore a hole through him, put a gas-pipe 
into his head, stand him in my window, and light his nose. 

Peter {aside). Not as I nose — on, old fellow. 

Seeds. Now, Virginia, you stop here, and I will go and get my 
implements and commence the job to-night. {Exit Old Seeds, r.) 

Peter {trying to attract Virginians atteiition). Pst ! pst I 
say, come here. (Virginia looks round bewildered j Peter ///w/i* 
oft box; she screams.) It's all right ; don't make any noise. Mr. 
Shortcut sent me here ; he is waiting for you down by the pump. 
Don^t stop to talk, but away with you. (Virginia exit^ l. ; Peter 
looking round.) Well, Old Seeds has got a nice store here. {Goes 
up to counter and puts some of the bu7idles up the back of his coat ; 
Tuake any business here?j I must look out ; here comes the old 
man. (Gets in positioii on the box sa7ne as before j e7iter Seeds, 
R., with a hand-saiu, ha77t77ier, etc.) 

Seeds. I do think when I get my sign figure in the window it 
will be a great curiosity. 

Peter {aside). You needn't take so many panes about that win- 
dow ; it's the last place I'll ^o into. 

Seeds. I'll commence the job at once. I'll clear oflf this coun- 
ter and lav it down here. {Goes to arra7ioe cou7iter ; upsets the 
jar of CO fee near the stove and binder Peter's 7iose ; business of 
Peter trying not to sneeze ; Seeds says). There goes a jar of my 



lO THE MAN ABOUT TOWN. 

best snuff. Pll just sweep it up a little. {Gets broom and sweeps 
the coffee tip by the box, under Peter's nose; Peter, business, etc.) 

Seeds. Why, I left my daughter here; where can she be.** 
(Peter trying not to sneeze; Seeds calls.) Virginia, Virginia! 
Where are you? {^By this time Peter can hold in no longer ; he 
commences to sneeze] Old Seeds looks at him thunderstruck ; 
VF.TY.K jumps off of box ^ afzd runs down L., sneezing; Old Seeds 
stands trembling, looking at him^ R.) 

Peter. It's all right, old fellow ; I couldn't stand it any longer. 

Seeds. Hang me, if that ain't the dressmaker ! {Rushes Peter 
round stage; Vy^tkr. jtimps out of window ; crash of glass, etc.; 
Old Seeds puffing and blowing, almost out of breath.) This is 
another plot to rob me of my daughter. Where the deuce can she 
be 1 {Calls.) Virginia ! Virginia ! 

(^///^r Virginia and Orlando Shortcut, l. ; they both hold out 
their hands to Old Seeds.) 

Virginia. Here we are, father, and want your blessing! {At 
this 7no7nent Peter puts his head in the window and exclai^ns.) 
Shortcut, where is that five dollars and a quarter? (Old Seeds 
seizes an armful of bundles from the counter; Virginia ajid Or- 
lando cross /^ R.H. as curtain lowers ; Vytyy.^ puts his head in and 
out of windoia; Old Seeds throwing bundles at hi?n; Peter 
laughing at him ; dodging the bundles^ etc.) 

Curtain. 



inoR M^AJLiE CHARACTERS ON"IL.Y. 



JULIUS C/ESAR. 

CONDENSED INTO TWO ACTS, AND ARRANGED FOR 
MALE CHARACTERS ONLY. 

By LESLIE WARREN. 

FROM THE WELL KNOWN SHAKESPEAREAN PLAY. 

Ten male characters. Costumes, Roman ; scene, the Forum, the same for both acts. 
This ingenious simplification of this popular play is exprassly made for amateur perform- 
ance in schools and colleges. The plot and action of the original are carefully preserved, 
and all the celebrated declamatory passages and familiar scenes, but all the stage difficul- 
ties are eliminated, so that it can be presented without trouble or expense. 

Price 15 Cents. 



SH^KESI^E^RE FOR JOdl^TETJRS. 



MUCH ADO ABOUT NOTHING. 

CONDENSED INTO TWO ACTS FROM SHAKESPEARE'S 
COMEDY FOR AMATEUR PERFORMANCE. 

By LESLIE WARREN. 



Eight male and three female characters. Scene, a single easy exterior, the same for 
both acts. This version is expressly designed to bring this most brilliant and amusing of 
the Shakespearian comedies within the powers and capacities of amateur players. The 
delightful dialogue and sprightly action of the play are presented, unencumbered by 
objectionable incidents and passages, or mechanical stage difficulties. 

Price 15 Cents. 



A NEW COMIC IRISH PLAY. 



FINNIQAN'S FORTUNE. 

AN IRISH STEW IN THREE ACTS, 
By CHARLES TOWNSEND, 

AUTHOR OF "RIO GRANDE," "THE SPV OF GETTYSBURG," "THE JAIL BIRD," 

'•mountain waif," "the man from MAINE," "BORDER 

LAND," "TONY THE TRAMP," ETC. 

Five male, three female characters. Modern costumes. Scenery,, two interiors. 
Time of plaVing, two hours and a quarter. This play marks a new departure in Irish 
plavs, and every dramatic club with a good Irish comedian is bound to have it. Jt 
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that Mr. Harrigan employs in his famous " Mulligan Guard" series. It is full of 
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almost " plays itself." Larry Finnigan, the good-natured old mason, is a favorite 
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Jake, his daughter Katy, the rascally Count, — in short, all the characters, are first- 
class, as there is not a small part in the play. 

SYNOPSIS. 

ACT I. — The home in Finnigan's Alley, New York. Mrs. Finnigan's ambition, 
" And me a-dyin'to see the Italian Opery ! " An unwelcome visitor. Rafferty's 
news. " Me wife's mother's uncle's aunt is dead!" On a strike. " What for 
I dunno. Thev said strike, an' we struck." Rafferty In hot water. Finnigan's 
song. His opinion 'Of dudes. Tammanv Hall. Pat the dainty. "He'll be 
axin'for pie next." Katy's reason. " Taffy." Katy gets mad. " What a nice, 
quiet time I'm having the day." The telegram. F'ortune smiles. "Now 1*11 
lick the Dutchman ! " " Is dot so ^ " Tableau. 

ACT II. — Finnigan's new home on Murray Hill. Mrs. Finnigan's trouble. How 
to speak " Frinch." Coney Island. The Count and Lady Hannah. A bit of 
scandal. ' Katv's loyalty. " Begorry, the ould mon has wan friend left." High 
society. Snubs all around. Father and son. 1 he bank check. A bashful 
lover. The proposal. " Don't you dare kiss me! " A pretty pair of swindlers. 
Lady Hannah's advice. A dangerous oame. More snubs. Poor Finnigan's 
desperation. "I'll commit suicide av it costs me me life." Good advice. 
Tempted. ^' It looks like whiskey." Finnigan's assertion. A row. 

ACT III. — The next morning. Finnigan a wreck. "I'm a blowed-up steam- 
boat!" Husband and wife. Cold comfort. Jake brings startling news. The 
swindlers compare notes. Jake wants to fight. " Luff me got at him ! " Finni- 
gan steps in. ** I call do me own slugging." The attempted murder. The 
surprise. Policeman Rafferty* Finnigan's vow. Finale. 

Price 26 Cents. 



THE FAMfLY ALBUM, 

AS EXHIBITED BY MRS. ALMIRA PEASE, OF HOCKANUM. 

•E l^umarous !£ntcrtainmcnt m i©ne ^tX, 
By KATE F. ELLIS. 

The only speaker is the one who exhibits the " pictures," fifteen in number. These 
are shown in a frame cons.ructed like an album, and reproduce, humorously, the usual 
assortment of family photogra;)hs. A novel and attractive variation of the tableau 
entertainment. 

Price 16 Cents. 




B 



AKER^S SELECTED LIST 
OF JUVENILE OPERETTA5 



Designed especially for Church, School, and other Amateur Organ- 
izations. Complete, with all the music and full directions for 
performance. 



Grandpa's Birthday. In One Act. Words by Dexter Smith; 
music by C. A. White. For one adult (male or female) and ihree 
children; chorus, if desired. Price, 25 Cents. 

Jimmy, The Newsboy. In One Act. Written and composed by 
W. C. Parker. For one adult (male), and one boy. No chorus. 
Very easy and tuneful. Price, 25 Cents. 

The Four-leafed Clover. In Three Acts. By Mary B. Horne. 

For children of from six to fifteen years. Seven boys, seven girls, 
and chorus. Yery picturesque. Price, 50 Cents. 

Beans and Buttons. In One Act. Words by Wm. H. Leperp:; 
music by Alfred C Robyn. Two male and two female characters; 
no chorus. Yery comical and easy. Price, 50 Cents. 

Hunt the Thimble. In One Act. Words by A. G. Lewis ; music by 
Leo R. Lewis. Two male, two female characters and small chorus. 
Simple and pretty. Price, 50 Cents. 

Red Riding Hood's Rescue. In Four Scenes. Words by J. E. 
Estabrook; music by J. Astor Broad. Three male, four female 
characters and chorus. Price, 50 Cents. 

Golden Hair and the Three Bears. In Five Scenes. By J.^stor 
Broad. Three adults (2 m., 1 f.), eight children and chorus. Music 
is easy, graceful, and pleasing. Price, 75 Cents. 

R. E. Porter ; or, The Interviewer and the Fairies. In Three 
Acts. Words by A. G. Lewis; music by Leo R. Lewis. Six male, 
six female characters, and chorus. Yery picturesque and pretty. 

Price, 75 Cents. 

Gyp, Junior. In Two Acts. Words by Earl Marble; music by 
D. F. Hodges. Two males, one female (adult), three children and 
chorus. Yery successful and easily produced. Price, 75 Cents. 

Alvin Gray ; or, The Sailor's Return. In Three Acts. Written 
and composed by C. A. White. Ten characters, including chorus; 
can be made more effective by employing a larger number. 

Price, 75 Cents. 



Catalogues describing the above and other popular entertain- 
ments sent free on application to 

WALTER H. BAKER & CO., 

THEATRICAL PUBLISHERS, 

No. 23 Winter Street, - Boston, Mass. 



NEW OPERETTAS FOR 



Odd Operas 




017 400 410 9 



FOR LVtN 



A Collection of Short and Simple Musical Entertainments for Children. 

By Mrs. C. N. BORDMAN, 

AUTHOB OF "The Kingdom of Mother Goose," *' Motion Sox. . . 

ItooM," "The Temperance Clarion," et< . 

Complete with all the music aud full instructious for performan. , 
ticabnityr'''''""'^'' ^'''' '^' simplicity, originality of idea, tunefulness ' ; , 

Price . . . . . 50 cents. 

COIsTTEIsri'S- 

A GLIMPSE OF THE BROWNIES. A Musical Sketch for ( ! il- 
wen. b or any number of boys. 

JIMMY CROW. A Recitation for a Little Girl. 

and Jh^^s^^"^ ^^^' ^"^ C»peretta for Young People. Seven speaking 

QUEEN FLORA'S DAY DREAM. An Operetta for Children. ^x 
speaking parts and chorus. 

THE BOATING PARTY. A Musical Sketch for Little Children. Thirtv 
boys and girls. 

r^u-1?^^ LITTLE GRANDMAS. A Musical Pantomime for very Little 
Children. Six very little girls. 

A HOUSE IN THE MOON, A Recitation for a Little Girl. 



ROBIN'S SPECIFIC; 

OR, THE CHANGES OF A NIGHT. 
A, Chris^nias Of^kre^ttta in One Act. 



Words by 
AMELIA SANFORD. 



Music by 
ADAM CIEBEL. 



For one adult and nine children from eight to sixteen years old, with eisht very little hovs 
«id tweWe little girls for Chorus. ITiree^ changes of scene, very easily Sralg^^ 
varied but simple and readily procured. Very effective and easily gut i ' n , "^^^^^ co.iumes 

^riee 25 cents. 



Catalogues describing the above and other popular entertainments sent free on applieation to 

WALTER H. BAKER & CO,, 

THEATRICAL PUBLISHERS, 

No. 23 Winter Street, . . BOSTON, MASS. 



e>'785 



'T^ Man Atou4T 



LIBRARY OF CONGRESS 




017 400 410 9 « 



